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Die schöne Müllerin, D795

Introduction

Leopold Godowsky inlays Schubert’s innocence with ivory and gold, with a darkening and enriching chromaticism that has enraged artists (notably Sir Clifford Curzon) of a more puritan taste. Here, it must be admitted, Schubert takes second place, and whether you consider such hyphenation elevated or debased, richly perfumed or defiled, it is hard to resist such a lavish and bejewelled tribute.

Recordings

'A musical as well as a technical revelation … De Waal's virtuosity is awe-inspiring, and he's complemented throughout by a beautifully natural a ...'This disc is amazing … wild stuff, to which Rian de Waal does ample justice' (BBC Music Magazine)» More

Details

Godowsky transcribed twelve of Franz Schubert’s songs during the summer of 1926 when he was variously in Evanston (Illinois), New York, Paris or, in one case, mid-Atlantic. Das Wandern (‘The Wanderer’) and Ungeduld (‘Impatience’) from Die schöne Müllerin and Gute Nacht (‘Goodnight’) from Winterreise are contrasting examples from Godowsky’s complete set and make fascinating comparisons with Liszt’s arrangements of the same songs. Gute Nacht, incidentally, is one of the very few pieces of his own music which Godowsky recorded.

Godowsky transcribed twelve of Franz Schubert’s songs during the summer of 1926 when he was variously in Evanston (Illinois), New York, Paris or, in one case, mid-Atlantic. Das Wandern (‘The Wanderer’) and Ungeduld (‘Impatience’) from Die schöne Müllerin and Gute Nacht (‘Goodnight’) from Winterreise are contrasting examples from Godowsky’s complete set and make fascinating comparisons with Liszt’s arrangements of the same songs. Gute Nacht, incidentally, is one of the very few pieces of his own music which Godowsky recorded.